This is a 5K video project which features imagery composed of multiple shots. The process of filming and the physicality of the shooting become an integral part of the imagery. The individual segments are handheld shots in which the frame of each segment wanders and changes. This produces tangible constructs that are in a constant state of flux.

Hudson is investigating the nature of experience through the use of parallel time-lines. Each time-line is a segment of a larger image. The segments are assembled into cohesive yet unstable images. The assembled composites compress the experience of spending hours at the location into a few seconds and also expand upon the notion of a fixed reality. The resulting images describe the space between our perception of the world and our knowledge of the world.

(TORONTO – January 22, 2015) ANGELL GALLERY is pleased to host GAVIN LYNCH: FOR JANUS, a solo exhibition of new works by a fresh, exciting voice in Canadian landscape painting. The exhibition will be featured in the west gallery from February 20 to March 21, 2015. An opening reception will be held on Friday, February 20, 6:00 to 9:00 PM. This is Lynch’s first solo exhibition at Angell since joining the gallery’s roster in the fall of 2014.

Ottawa-based artist Gavin Lynch is quickly becoming a key player in the new vision of landscape painting that is invigorating this archetypal Canadian genre. Like other contemporary painters engaged in this revitalization process — Kim Dorland, Steve Driscoll and Stanzie Tooth, for example — Lynch combines experiences of the great outdoors, in his case growing up in northern British Columbia, with a studio practice that privileges interpretation over verisimilitude. Employing a collage approach to the picture plane, Lynch resists pictorial and painterly continuity in favor of unexpected and often conflicting combinations of elements, some derived from memory, others from the artist’s imagination. Sharply delineated forms are juxtaposed with fluid areas, while highly stylized rocks and trees are painted in naturalistic colours. Wavering between material flatness and pictorial depth, luminosity and darkness, and abstraction and representation, these paintings exude an energizing tension that invites extended looking.

In the current body of work, Lynch invokes Janus, a Roman god with two symmetrical faces who sees both past and present, and who is associated with safe passages through space, new beginnings and endings. “Janus is a most suitable metaphor for the act of painting, a medium and process simultaneously concerned with both its past and future,” says Lynch. In this series pairs of near-mirror image landscapes reflect the past —— a trip through the Rocky Mountains — and the present, when these memories are reconfigured in the studio. Using the framework of symmetry, Lynch engages the viewer in an enticing perceptual act of comparison, an intriguing negotiation between similarity and difference, through time and space.

Gavin Lynch holds a BFA from Emily Carr University (2009) and a MFA from the University of Ottawa (2012). He is the recipient of awards and grants from various organizations, including the Canada Council for the Arts (2014), the Ontario Arts Council (2013) and the province of Ontario (2011). In 2014 Lynch was a finalist in the RBC Painting Competition, which was exhibited at the Musée des Beaux Arts. His work has been exhibited across Canada, featured in Canadian Art magazine and is in various collections, including Simon Fraser University, TD Canada Trust and the City of Ottawa Permanent Collection. Lynch lives and works in Ottawa.

Jessica Bradley is pleased to present Sarah Cale’s most recent body of work in her third solo exhibition at the gallery. Cale continues to stretch the limits of painting beyond conventional figure and ground relations, using collage and layers of cut canvas to confound our perception of the painterly gesture. In her new paintings she also cuts and shreds canvas to create three-dimensional apertures, delineating collaged portions with paint. These works encourage the eye to rove between physical edges and multiple painted and collaged limits within the painting.

Cale’s title for this exhibition borrows from Anne Carson’s poem My Religion, indicating a drive to work through creative process without guiding rhyme or reason. In contrast to the meticulous method of her earlier collage works, in these works Cale commits to experimentation without preconceived procedure. While her work is often an inspired meditation on earlier forms of modernist painting – Abstract Expressionism, for example – Cale continues to both abandon and exploit conventional modes of paint application, describing these new works as

‘acts of creative destruction to arrive at something that is completely unexpected. What appears on the support is not a picture but an event.’

Shortlisted for the RBC painting award in 2009 and 2010, Sarah Cale’s work has been included recently in group exhibitions at the Galerie de l’UQAM, Montreal (2013) and the Beaverbrook Art Gallery, Fredericton (2014). The Southern Alberta Art Gallery, Lethbridge, mounted a solo exhibition of her work in 2014, and solo exhibitions will be held at the Kitchener-Waterloo Art Gallery, Kitchener, Ontario and the Varley Art Gallery, Markham, Ontario in 2015 - 2016.

Jacqueline Hoang Nguyen (b. Montréal, CA) is a research-based artist currently based in Stockholm (SE). Nguyen completed the Whitney’s Independent Study Program in 2011. She obtained her MFA and a post-graduate diploma in Critical Studies at the Malmö Art Academy, Sweden in 2005, and BFA from Concordia University in Montreal in 2003. She has been awarded grants from the Canada Council for the Arts; The Banff Centre, Brenda and Jamie Mackie Fellowship for Visual Artists; The Swedish Arts Grants Committee’s International Program for Visual Arts and the Swedish Research and Development Fellowship in the Arts. Nguyen’s work has been shown internationally including the MTL BNL, Montreal (2014); A Space, Toronto (2014); Kunstverein Braunschweig, Braunschweig, Germany (2013); Apexart, New York (2013); Institute of Contemporary Art, Philadelphia (2011); Mason Gross Galleries, Rutgers University, New Brunswick, NJ (2011); Galerie Im Regierungsviertel, Berlin (2010); and Gasworks, London (2010). In 2011 she was commissioned by CC Seven to produce a site-specific sound piece for The Woodland Cemetery, a Unesco World Heritage site in Stockholm.

This film selection is presented in collaboration with the National Film Board of Canada (NFB).

This exhibition is presented in collaboration with the Images Festival, April 9 – April 18, 2015. For more information visit imagesfestival.com

Krista Belle Stewart’s work engages the complexities of intention and interpretation made possible by archival material. Her work approaches mediation and storytelling to unfold the interplay between personal and institutional history. Stewart’s recent exhibition Motion and Moment Always at the Contemporary Art Gallery, Vancouver (2015) marked the first solo exhibition of her work and the culmination of fall 2014 residencies at the Nisga’a Museum and Western Front comprising new works developed in Nisga’a and at her ancestral home in Douglas Lake, BC. She has exhibited in group shows including Where Does it Hurt?, Artspeak, Vancouver (2014), Music from the New Wilderness, Western Front, Vancouver (2014), and Fiction/Non-fiction, Esker Foundation, Calgary (2013). Stewart holds a BFA from Emily Carr University and is currently an MFA candidate at Bard College in New York. She is a member of the Upper Nicola Band of the Okanagan Nation, and lives and works in Vancouver and Brooklyn.

Walter Scott SPACE: WALTER SCOTT

Apr 8 - Jul 15, 2015

SPACE is a series of commissioned works for the billboard space on the side of Mercer Union, at the corner of St Clarens Ave & Bloor St W.

The third artist to create a commissioned work for SPACE, Mercer Union’s billboard project will be Montreal and Toronto based artist Walter Scott.

Walter Scott is an interdisciplinary artist working in writing, illustration, performance and sculpture. His ongoing comic book series, Wendy, follows the fictional narrative of a young woman living in an urban centre, whose dreams of contemporary art stardom are perpetually derailed. Recent exhibitions include Joan Dark at Western Front, Vancouver (2014) and Pre-Existing Work, Macaulay and Co. Fine Art, Vancouver (2015). Scott’s work will be presented in the forthcoming solo exhibition Habitual Present at 8-11 in Toronto (2015). In 2014, he was Artist-in-Residence at the Koganecho Bazaar in Yokohama, Japan. Scott currently lives and works in both Montreal and Toronto.

On Saturday, February 21st, Mira Godard Gallery is pleased to open an exhibition of new paintings by PETER HARRIS.

“My recent paintings focus on the defining elements of a contemporary urban landscape that surround us all as city dwellers. I've chosen to paint these ubiquitous subjects at night, using the darkness like a stage curtain, creating spaces that highlight my subjects with almost reverential illumination while isolating them from the background. The objects of the urban landscape, the restaurants, gas stations, municipal buildings, streetcars, buses and parking lots that take centre stage in my paintings form a distilled and concentrated version of urbanity. The world I paint is cleaned up and pared down, a small oasis of solitude and order to contrast the realities of daily life in the city.”
Peter Harris

PETER HARRIS attended the University of Waterloo, graduating with a B.A. in painting in 1997. He has exhibited in both Canada and the United States and has received several awards including an Elizabeth Greenshields Foundation Grant, an Ontario Arts Council Exhibition Grant and a Waterloo Region Arts Fund project grant. Harris' work is found in numerous private and corporate collections throughout North America and Europe including Colart Collection, Montreal; KLSAL, Erfurt, Germany and OPSEU, Toronto.

PETER HARRIS lives and works in Toronto.

To arrange an interview with the artist, or for more information, please contact the gallery at (416)-964-8197, via email: godard@godardgallery.com, or visit: www.godardgallery.com.

The Red Head Gallery is pleased to present At The Root, an exhibition by artist Sally Thurlow.

Sally Thurlow is a multi-disciplinary artist based in Greater Toronto. Her practice is based in sculpture, installation, photography and painting. For some years she has been exploring the dynamic range of figurative forms using driftwood, within a wide range of other media. Questioning our cultural and environmental practises are a constant in her work. Currently, she is introducing paints, stains, and manufactured additions to her anthropomorphic figures, creating symbols for re-examination of dominant cultural ideas and re-evaluation of our propensity to judge. In an era of social disintegration and ecological collapse we may reconsider what the latest justifications are to conform. The pre-historic sacred and profane nature of the complex female forms is a choice for movement into wholeness and integrity. Her dark muses, emotionally charged with deep earthen colours, express anguish, ecstatic energy aborted, war on life forces. The playfully overt sexuality in the new figures lie somewhere between the lyricism of earlier driftwood forms and the dark emotional underworld of root forms.

Sally received a BA majoring in Fine Arts from the University of Toronto, finishing with Cultural and Environmental Studies at Trent University, with significant earlier studies at OCAD and George Brown College. She has given numerous artist talks and workshops at educational institutions and public galleries. Her work has been shown internationally and she has been the recipient of various Ontario Arts Council Awards. She is a member of The Iris Group and The Red Head Gallery, both artists’ collectives. Her work is held in private collections across Canada, and at The Robert McLaughlin Gallery in Oshawa ON. For more information please visit her website: www.sallythurlow.com.

Anti-Glamour: Portraits of Women presents photographic and video portraits by artists who address issues of female representation. Works by Marie Le Mounier, Katherine Lannin, Rebecca Belmore, Ange Leccia, Gunilla Josephson, Jo Spence and Leila Zahiri challenge stereotypes while claiming an alternative presence for women in the public sphere. Offering a contemporary counterpoint to traditional visual standards, this exhibition engages viewers with a diverse series of strong and poetic portraits of women.

From Edward Steichen’s iconic portrait of silent film star Gloria Swanson (1924) to Annie Leibovitz’s influential gatefold covers for Vanity Fair’s annual Hollywood issue (1995-2014), this multimedia exhibition offers a sweeping, yet considered view of photography’s role in defining glamour since the 1920s. Drawing on prints from the RIC’s Black Star Collection of photoreportage and the holdings of George Eastman House in Rochester, New York, among other collections, Burn with Desire provides a historical and visual chronology encompassing Hollywood studio portraits as well as red-carpet and film set photographs. Additionally, a series of artistic projects, including works by Richard Avedon, Cindy Sherman, Mickalene Thomas, and Andy Warhol, demonstrate a more critical address of traditional ideals and representations of glamour.

Toronto, ON – opening on Thursday, 26 February from 7 to 9 p.m. and continuing through to 4 April, the Susan Hobbs Gallery is pleased to present an exhibition of new works by Krista Buecking.

Buecking’s project, titled MATTERS OF FACT, emerges out of her continuing investigation into the products (and consequences) of neoliberalism. Her wall works, sculptures and related media appropriate the recurring motifs of such systems to in turn interrogate their value and efficacy. Here, the principal element of Buecking’s exhibition is a suite of coloured pencil drawings depicting computer-generated gradients. Layered on top of these drawings are solid graphics painted directly on the glazing of each framed drawing. These graphics, literally floating on their shaded voids, borrow from the visual language of modernist abstraction, economic infographics, and models from early childhood education. Accompanying the drawings is an audio “soundtrack” composed from sounds drawn from teenage melodramas, infomercial stingers and lead-ins, self-help seminars, and canned music. A wall mounted clock—its numbers stripped away—keeps a watchful eye over Buecking’s installation. It is a reminder, perhaps of the division of time and of the anxieties of time spent or wasted, and wonders: what exactly are we being sold?